Unlike overseas drama productions, most dramas in Shanghai are produced by national owned theaters and independent theater is almost non-existent. The city's main players are the Shanghai Drama Arts Center and the Shanghai Theater Academy. Many directors have to turn to these institutions for cooperation just to get their productions off the ground. But that is slowly changing with directors establishing their own studios and working independently.
"My own studio means a totally independent production as well as having a detailed plan for the whole year," says young director Zhou Ke. "And I can create a brand that audiences recognize."
Zhou graduated from the Shanghai Theater Academy in 1997 and since then has directed several plays including Bachelor Apartment, Salem Witches, and The Bass which were well received particularly by young people. She is currently a teacher in the Director Department of the Shanghai Theater Academy.
Her previous plays were single projects with a temporary support team. "Now it is easier for me to set a goal for my production team," she says. "I have more flexibility when it comes to choosing the play as well as the performers."
Independent theater also encourages a wider audience. Zhou has made it her personal goal to "cultivate a bigger audience."
"Drama provides a good opportunity for communication," Zhou says. "A good play can help people to think deeply."
Her words are echoed by Yu Luosheng, a senior director who was one of the first people to set up his own drama studio in Shanghai.
"Compared with other countries, there are only a small amount of permanent theatergoers here in China," Yu points out. "To attract a wider audience is an challenge for theaters in Shanghai."
Yu's 1991 play Lady That Stays was an enormous success, enjoying 168 performances in Shanghai. Following that he was appointed to Artistic Director at the Shanghai Drama Arts Center from 1998 to 2000. Despite retiring, Yu is still involved in TV and movie productions.
Perhaps his greatest achievement was in 2001 when he established "Earth Village Studio," pioneering independent drama studios in Shanghai.
"I intended to realize my own artistic pursuits," he says.
He worked hard to create dramas and plays which brought audiences back to the theater. "I've come a long way and done it tough for my studio," he confesses. "To be blunt, money is always the issue."
Without the backing of a professional national theater, everything is built up from nothing.
"For a play you need money and it's impossible to produce a play with just personal funds, " he says. "I had to look for sponsors everywhere which was quite difficult for me."
Looking for a sponsor is never easy. While sponsorship is commonplace for pop concerts and sporting event it's hard to drum up enthusiasm when it comes to theater in China.
"Support for serious art is still in its infancy," he points out. Overseas companies often clamor to be sponsors of artistic ventures and donations are regularly tax deductible. "It's a tough job trying to fulfill a dream," Yu says. "Though I'm not giving up."
Zhou is a little luckier and has found a financial partner for her studio. Last June, Shanghai Peony Media Co Ltd approached her about teaming up.
"We really appreciate her plays," says Yang Qing, general manager of the company. "After discussing the issue we found our ideas and plans were perfectly matched."
The company originally focused on funding TV production but this year decided to move into the stage arena.
"This is our new venture and we've promised Zhou funding for at least three plays each year," Yang says. "We won't be imposing tough restrictions as we want her to have maximum freedom."
And so in March the Zhou Ke Drama Studio was born. Shanghai Peony Media Co Ltd is putting up all the money and Zhou describes herself as a technical shareholder.
"I'm responsible for selecting the plays and ensuring quality performances," she explains. She will also budget for each play which requires company approval.
Despite the smooth beginning for Zhou's studio, she still feels challenged by the role of director and producer for her first play. "To be a producer you must deal with money and then suddenly you have to turn around and be a creative director so it can be strange sometimes."
"In my next play I will only be a director or producer, not both," she says.
Her first play Who Pulled Out My Air Plug, which run nine performances recently, has attracted a group of young performers and designers.
"We've been getting along quite well because we have a common artistic vision," Zhou says.
"I'm happy to have joined this team," says actor Luo Wei, who played the lead role in the play. "We are not in the play for money, rather the opportunity. The team is full of energy."
Luo was a teacher at Shanghai Theater Academy and is now a freelance actor.
"I hope these performers can stay with me in the future so that I'll able to create roles that really suit them," Zhou says. "However if they have other good opportunities in TV or movies they have the freedom to go."
The audience of the play are aged between 20 and 30. The performance suffered a few lighting problems but audiences didn't appear to be affected. The energetic performance included beautiful singing and dancing.
"I like it very much as I feel I was a part of the play and it catered to a youthful audience," Emma Ding, a student from the Shanghai Theater Academy. "Actually Zhou's plays are popular among many of my schoolmates."
However, though the play was well received among the audience members, the studio has stopped its first round performances last Sunday ahead of its original schedule which was planned to run through June 13. The reason, according to the play's investor, is that the box office is not quite satisfactory with an average of around 50 percent for eight performances. The highest attendance was 90 percent and the lowest below 50 percent.
"The market promotion is not doing very well," admits Zhang Xiaowei who does the play's promotion. "Another reason is that many students have been busy with their final exams for the semester so we've lost a considerable number of our young audiences."
Now the play plans to have a second round in this September.
But this blow has not stopped Zhou's other plans.
"I'm planning a creation department for my studio in the future," she says. In addition to original plays the department will also select classical works and adapt them into Chinese versions.
"Drama fans can also contribute their original plays to us and we might be able to make their dreams a reality," she adds.
Zhou even wants to develop her own professional theater group. Currently the Shanghai Drama Arts Center, Shanghai Theater Academy and Shanghai Modern People Theater hold the city's performance licenses which are issued by the government. In the past there have been huge restrictions on private professional theater groups obtaining licenses.
"But in July those restrictions will disappear," Zhou notes. "Any individual or group can get a license if they are qualified."
"This new policy is good for drama development," Yu agrees. "Art needs individuality and variety."
Yu is currently planning a new play for his studio. It's a story about the legendary Chinese writer Eileen Chang.
Both Yu and Zhou are confident there will be more directors opening their own studios in the future and they both reject the suggestion that independent drama poses a threat to national owned theaters.
"No, competition is a good thing for us," says Wu Jia from Shanghai Drama Arts Center. "With more theater audiences will have more choice which is a great thing for drama development in Shanghai."
(eastday.com June 15, 2004)
